Monday, June 20, 2011
Beach House Noir
Now is the day the crows come home to roost. Or the roosters come home to crow. Or maybe they're black skimmers.
The Noir at Beach House deadline is today. Below are the links for folks who have let me know what's what. You still have time to post a link to your story in the comments -- or email me. Or tie it to the foot of a carrier rooster and send along.
"Insanely entertaining." That's what Josh Bazell said about FUN AND GAMES from Duane Swierczynski. Might as well say the same thing about all the fantastic entries for the DSD challenge. Check these out ->
Peter Rozovsky
Benoit Lelievre
Charlie Wade
Evil Ray
David James Keaton
Al Tucher
Eric Beetner
Thomas Pluck
Gerald So
Keith Karabin
Stephen D. Rogers
Katherine Tomlinson
Kieran Shea
Don Lafferty
Fiona McDroll Johnson
If I missed someone, post in the comments and I'll update. If you're coming in late, post in the comments today and you'll still be entered to win FUN AND GAMES from Duane Swierczynski. I'll pick a name late Monday (today?) afternoon.
FUN AND GAMES is the first of three Charlie Hardie thrillers from Duane Swierczynski (Mulholland Books).
Charlie is an ex- sort-of cop with the requisite wounded psyche, avoiding his past by running around the country house-sitting, drinking, and watching olde tyme movies.
His shot at redemption comes in the Hollywood Hills, trying to save a movie star from sure death. Much like that poor young man in CLERKS who wasn't even supposed to be here today, Charlie was supposed to be drunk in someone else's house, watching old Robert Mitchum movies.
What really works well in this book is that as the action moves forward -- explosions, poisonings, car chases -- the story moves backwards, bringing depth and explanation via character backstory.
Who are these Accident People trying to kill movie star Lane Madden? And why?
And why did Charlie Hardie run away and hide from his life, leaving his wife and kid far away?
And what's in that damned bag he can't live without?
As the story moves along from one chase scene to another, the story of Lane Madden's Secret is revealed a little more. As Lane Madden's backstory is revealed, so is Charlie Hardie's.
This book moves. Not just in the normal thriller way, not just racing from one explosion to the next. These explosions are more like dynamite thrown at that mountain where that dude was making the Crazy Horse monument. The more explosions, the more is revealed. And once that thing is revealed, you know, it's pretty freaking cool.
FUN AND GAMES is available this month. The second in the three-parter is set to hit shelves in October.
You'll dig this book.
One lucky person in our Noir at the Beach House contest will get a copy of the book. Will let you know shortly.
Thanks for playing.
Saturday, May 7, 2011
Weather Flash: For a Cause
Tuesday, December 14, 2010
The DSD Christmas Noir Flash Challenge -Last Calls
Tuesday, April 27, 2010
Writing The Perfect Crime
I write like I cook; no recipe, a lot of mess and not a little noise. One of the interesting parts is how the story changes during the process, the little decisions that totally change the tone and point of the story. The scenes that get cut or moved, the fact that Deckard should be a replic…..oh sorry, sidetracked.
So I thought I’d show how I got a short story from blank page to published story. This isn’t going to be full of any great insights or sage advice, I’m not in a position to be giving out either, but it’s just a look at how I went about it. I’ll be using my recent flash fiction story, which you can still read here.
THE START
A while back, we were talking in the break room at DSD towers, as we do. Football. Comics. Gumbo. The usual. McFet has a habit of asking interesting questions, and I have a habit of getting half an idea from them that I then shelve and do nothing with. This time, he asked about fiction that explored the recession, asking whether or not crime fiction was a more natural fit for the subject matter than anything else.
Quick sidestep here; once upon a time I was a bright-eyed young employee for a large company. I was brimming with ideas. I kept making suggestions, “you should do this..” “What needs to be done is…” “This is how that would work…” And I quickly learned that, if you voice a strong idea, people would often give you the room to carry out that idea. And so I learned my lesson. I stopped making suggestions out of fear that I might be expected to follow through on them.
So, yes, anyway. Back to that coffee break. McFet asked the question, and I said, “someone should issue a flash fiction challenge about that.” All eyes turned to me and nodded expectantly. Aww fannybaws. And so the flash challenge was born, 300-1000 words on the theme of the recession. I issued it, and people responded. But all the time there was another problem lurking away at the back of my brain; since It was me who issued the challenge, I really ought to write something.
THE PROCRASTINATION
I’ve been all about economy of writing lately. When I first found my voice in short fiction, it was one that didn’t like endings. I liked to finish my stories at the point when most people would just be starting theirs. With the idea that something was about to happen. I found that more realistic, and I still do. I don’t like neat endings. But the more I work on the craft side of things, the more I try and find the balance; an ending that feels open and real but also provides the cap to a story.
Wendig again enters the story at this point, as he wrote a great piece about story structure. In it, he mentioned one of the problems with flash; it can fail to have a story. It will often be a glimpse of something, a vignette. Now, there’s nothing wrong with that. It can be a great way to get to grips with a character, or to try out a new style. It can be very satisfying both to write and read. But, that wasn’t where I was at. I wanted to prove to myself that I could produce a complete story in so few words. Weddle does it very well, so do a number of the regular contributors to these challenges. My previous flash attempt had done it in a very small, muted way. My character never moved from his sofa, but the story had a beginning, middle and an end.
And then I thought of a grand master of crime flash fiction; Bruce Springsteen. To read the lyrics to songs like ‘Highway 29’ or ‘Straight Time’, or back even further to ‘Meeting Across The River’, is to read great flash. They have beginnings, middles and ends. But they did it in small brush strokes. In each of these tales, the story ends either just before something bad happens, or when something ambiguous has happened, yet they still have definite endings, we are left in no doubt as to how things will go, and who will be on the losing end. They are endings that make you do the hard work, and that’s where I wanted to go.
THE WRITING
Okay, loser, think. You’ve issued this bloody challenge, and the deadline is in three weeks, where’s your story?
Okay, loser, think. You’ve issued this bloody challenge, and the deadline is in one week, where’s your story?
Okay, loser, think. You’ve issued this bloody challenge, and the deadline is in three days, where’s your story?
All the while, the story is trying to find itself in my head. I have the edges of the plot; I worked in a bookstore and I knew ways to take them down if I’d been that way inclined, I’m a crime writer, it’s how my brain works. I had the rough shape of a character; the flash challenge to me had suggested writing about someone who was in way over his head. And I like to add realism to my stories, so “in over his head” meant getting caught or killed. No miraculous escapes. My guy would be a white collar worker, someone who was forced to do something criminal, and he would then be double crossed by the criminals and left to wait for the police. We wouldn’t see him get arrested, but we’d know that was what was about to happen.
Oh, and I had an opening line; “The thing about committing the perfect crime? You need perfect criminals.” I liked that, and the story started to write itself from that easy introduction. Plot happened. Easy as pie. He stole the money. Half way through I introduced the shady characters he’d bought in on his caper, and at the end they double crossed him. “You’re not one of us,” they say, “you should’ve stayed behind your desk.” And they walk away, leaving him to wait for the police and a ruined life. Full stop.
I sat back and felt contended, full in the knowledge that I was one clever damn bastard.
THE REWRITING
Then I went and drank some tea, and took a shower. Then I wasn’t so happy. They story was garbage, how could I have not seen it before? Dammit, I was so far from being a clever bastard that I might as well have been named Bon Jovi.
I sat and read it, and it felt forced. I didn’t buy it for a minute. And if I didn’t buy it, then nobody else would. I re-read the ending that I’d been so proud of, and It felt like the ending to a story. I realised that’s the exact opposite of what I want. And then that beginning and middle? Hmmm. Well, I still liked the beginning. But the middle didn’t actually do anything. I didn’t care about the main guy, and I didn’t believe that what he was doing was any kind of challenge.
First thing, how to make the guy real? Step one, I gave him a name. If people read a name, they have something to pin on him. Maybe some baggage of someone they really know, or maybe just a more personal connection. So he became Dave. How to get into his head and make me care about what he was doing? I wrote about the little details that he noticed, and how that felt. Two things I would usually avoid, but they added to the flash.
So this;
So, eight PM. The store long closed. He sat in the cash office, in the dark, alone. He lifted the bags out of the safe and felt the weight.
Seven grand.
There was a time when he’d have said it was more hassle than his job was worth. There was a time when he would have shut the safe again and walked away. But that time had gone.
Seven grand.
Fuck it.
Became this;
So, eight PM. The store long closed. Dave sat in the cash office, in the dark, alone. The only sounds were the clock on the wall and the air conditioning above his head. These sounds, noises that he’d heard every day for years, suddenly seemed vitally important. They were the only thing to distract from the pounding of his heart or the blood in his ears.
He lifted the bags out of the safe and felt the weight.
Seven grand.
Seven grand.
Was it worth putting it all on the line for seven grand? There was a time when he’d have said it was more hassle than his job was worth. There was a time when he would have shut the safe again and walked away. But that time had gone.
Seven grand.
Fuck it.
And then the ending. Again. Like I said, it felt like the ending to a story. It had Checkov’s gun elements, and the introduction of characters halfway through who’s only function was to provide an ending. That seemed forced in a way I was uncomfortable with. And here’s the only bit of advice I’ll attempt to impart; if something you’ve written feels wrong then it probably is. If these criminals were only in the story to service the ending, and I didn’t like the ending, what was the point?
So I took the characters out, and the ending fell of quite naturally without their support. And then I was left without an actual end to the story. Dave walks out into the cold night, weighed down with bags full of stolen money, and walks past a couple of cops. Originally he was walking to where he would meet the criminals, but now that wasn’t happening. What to do? I mean, where was the drama in just having this guy walk past a couple of……ho snap.
So that’s where it ended. With be pressing ‘delete’ rather than ‘the end.’ A desperate and guilty man has to luck up the courage to walk past a couple of cops, whilst hoping they don’t somehow smell the money or notice his hands shaking. Cut to black and let the reader decide the rest.
Then I felt a little bit better about the whole thing. So much better that I was willing to publish it.
And I promise, I’ve only re-written it twice since then.
Maybe three times.
Tuesday, April 6, 2010
DSD Flash Challenge: Round Up
DSD Flash Challenge
The thing about committing the perfect crime?
You need perfect criminals. And Dave just didn’t know any. Sure, he knew the guys who would try and sell him DVD’s and leather jackets down the pub on a Friday, but that didn’t seem to work.
Though, if you believed the ads at the cinema, those guys were funding terrorism.
But Dave had the perfect crime, or as close as he’d ever get, and he knew he wasn’t a criminal. Not really. He just needed some help, that’s all. Did that sound convincing? It should do, he’d practiced it enough.
It had come to him slowly. The idea itself was simple enough, but admitting that he wanted to do it was the hard part. He worked in the cashing office in the bookstore; it had been a cushy job, thirty-five hours a week, until people stopped buying books. Now he was lucky to get fifteen hours, with some really stupid shift patterns, and something needed to be done.
Just a break, one little moment when the world looked the other way. Not a lot to ask, right?
It went like this; Dave counted all the daily takings and noted it down on the spreadsheet. One of the managers or supervisors double counted it and then it was sealed in the Securitas bag for collection.
The Securitas guard would pick up twice a week and do a cash drop at the same time. Once on a Tuesday, once on a Friday. Here it got interesting. The guard would scan a barcode on the moneybag and place it in a sealed box. He didn’t count it- it wasn’t his job.
So, the way Dave saw it, who was to know if the contents of the bag changed in between the manager sealing it and the guard picking it up?
The bag would go into the central counting place, the bank, wherever, and at some point it would be opened and they’d know the money was gone. Everyone would still have done their job, nobody would get in trouble. What would happen?
Only one way to find out.
Again, perfect crime, perfect criminal, bloke down the pub.
There was Jelly, he seemed to know how things worked, but he was always looking for an angle. You couldn’t trust Jelly. And Bobby was fine, except when he got high. No, not bobby.
Just one answer. Like a bookshelf or a pot noodle, if in doubt do it yourself.
A simple plan. The best kind. Swap the bags out for new ones, weighted down with copper coins, twenty quid in one and two pence’s. Then head back out with the money, and head to a bar to meet up with friends and get loudly and publicly drunk. Even better, arrange to meet people from work. Best way to avoid suspicion, get drunk with the bastards. Sit there with the money, feeling good, feeling free.
Dave came up with an extra touch on the day, asking everyone at work if they’d seen his keys. Saying he couldn’t find them. That was going to be important.
So, eight PM. The store long closed. Dave sat in the cash office, in the dark, alone. The only sounds were the clock on the wall and the air conditioning above his head. These sounds, noises that he’d heard every day for years, suddenly seemed vitally important. They were the only thing to distract from the pounding of his heart or the blood in his ears.
He lifted the bags out of the safe and felt the weight.
Seven grand.
Seven grand.
Was it worth putting it all on the line for seven grand? There was a time when he’d have said it was more hassle than his job was worth. There was a time when he would have shut the safe again and walked away. But that time had gone.
Seven grand.
Fuck it.
He put the dummy bags into the safe, tucked the real ones into the pockets of his body warmer, which would be covered by his overcoat, and left the cash office. He didn’t stop and think as he locked the door. On the way out, he dropped his keys on the floor in the stockroom. Right where they’d be found, right where people would remember he must have dropped them, before saying he’d lost his keys. He didn’t offer up any prayers or apologies. He just moved. Fast.
Out into the rain that was starting, people laughing in the distance. The night starting for real, cigarette smoke on the air and the music blaring from the trendy bars. As he rounded the corner he saw two uniformed cops. They were stood either side of the alleyway he needed to walk down, within sight of his parked car.
They watched him as he approached. He smiled at them, closed his eyes and kept walking.
Breath.
Just this one break, please?
Monday, April 5, 2010
Hollow Pursuits
Jay had the bright idea of running a flash challenge this week -- focusing on crime in the recession.
Seems like a great idea since the economy is poo, etc, etc.
Here's what Jay wrote earlier in the year ->
So this here is a DSD flash fiction challenge. And I’m giving you plenty of run up time on this; lets call the deadline Tuesday, April 6th. Just after we’ve all enjoyed the Easter weekend, that seems somehow fitting.
Let’s have your recession stories. The usual flash rules apply, length no more than 800-900 words (I’m looking at you, Weddle). Write about anything and everything, as long as it’s tied into the theme.
But then a funny thing happened on the way to the challenge. According to Scott's most recent post, the economy is fine. In fact, something like 93 million people lined up for the iPad this weekend. In case you're unfamiliar with the technology, you can use this box to read books. And for only $500. (Price of book not included.)
So I figured the whole bad economy flash thing was dead. Turns out, Jay still plans to go through with it. I guess he had the invitations sent and the contract with the caterer signed.
So here's my shot in this week's alleged-recession flash challenge. Enjoyz. And if you're in, link your entry up in the DSD comments tomorrow. Thanks for reading.
Hollow Pursuits
He was fifth in line at the store in Bethesda. Too far back for the newspaper and TV people to care. The “I Speak 1337” baseball cap and Spider Jerusalem hoodie might have been overkill, but he wanted to be sure he could fit in. And the hoodie was good for hiding what he needed in the big pocket. He took his flask out, had a swig of whiskey, took off his cap and set it aside.
Took his phone out of his pocket. Snapped some more pictures of people in line. Sent them to Jay.
He saw himself in the reflection of the storefront window. Hat-hair sweated down. Plastic, gas station sunglasses hiding his slimy, blurry eyes. Larry Sparrow looked tired. Like that bum he’d given his sandwich to a half-hour ago. His roommate Jay had wrapped him up an egg biscuit, but he’d grabbed a sausage one. One meant for one of the other guys. Since he’d given up meat, there really wasn’t much he could do about it, except be hungry.
A bright voice behind him. “So you’re here for this Jesus tablet, too?”
He turned to see a woman holding a voice recorder, pen behind her ear. Dirty blonde. Green-lensed sunglasses down on her nose. A nice smirky, smile saying maybe she was too good for this. Or thought she was.
He went into his spiel. “Very excited. This is really going to revolutionize everything.”
“What do you plan to use it for?”
Larry did the snorky little nose laugh he’d practiced. “What don’t I plan to use if for. Movies. Music. Reading. Email. It’s like the mother ship is calling me home.”
He wasn’t sure about that last line, but Jay had said throw it in when he could. Added to the act.
“Thanks,” she said. “Your name and where you’re from?”
He told her just like he’d told everyone. “Reginald Barclay. The third. From Endicott, Wisconsin.”
She popped her face back a little in surprise. “Long way from home?”
“Family,” he said, which seemed a good enough answer and hoping she didn’t hear his stomach growl.
“Oh, well OK. Thank you for your time,” she said, walking down the line. Then she stopped, turned back to him. “I hope you get your money’s worth.”
He sent a “thanks” her way and went back to taking pictures and sending them along. He took a shot of her, but clicked “Save” instead.
The store would open in another 30 minutes. His phone made the “Exterminate! Exterminate!” sound to let him know that Jay was sending him a message. He pulled out his phone, read the message, then called, thinking about the reporter he’d just talked to.
How her nose was a little crinkly. Little flecks of gold in her green eyes.
“How many more you gonna get?” Jay asked.
“I’ve pretty much got everyone around here. The program working OK?”
“Yeah, man. Just like they said. Gotta love facial recognition.”
“Welcome to the future,” Larry said, looking around at the people in line. “And the team? Finding the addresses? Houses all cleared?”
“Yeah,” Jay laughed. “We were right. All these geeks in line for that tablet thing. Empty houses full of gadgets. Best idea you ever had.”
Larry was watching the reporter make her way down the line, talking to people and moving on.
“You OK with that?” Jay asked.
“What? Sorry. What was that?”
“Just head on out and give Terry the phone. He’ll get the rest of the stuff for later. He’s at the sandwich place on the corner.”
“Yeah, no problem. Couple minutes.”
Larry left his place, walked towards the back of the line. Pretended to talk on the phone, taking and sending pictures while he did. He saw the reporter on her phone. She was standing off to herself, holding the phone with one hand, running her other hand through her hair. She clicked off as Larry came up behind her.
“Story going to be OK,” he asked her.
“Just called it in,” she said. “At least it’s done.” She looked at him, then leaned around him to look at the front of the line. “You giving up your spot?”
“Yeah. Other stuff to do, you know. I’ll come back later.”
She smiled. “You want to get something eat? You look hungry.”
He laughed. His real laugh, this time. “I do, don’t I?”
“I saw what you did for that homeless man earlier.”
“Yeah.”
“Hard to find a nice guy these days.”
“I imagine it is.” He looked down the street. “You wanna get a sandwich over there?” He nodded to the store where Terry was waiting.
“Sure,” she said. “Can we get it to go? Walk with me to the park?”
“That sounds good.”
“It’s such a nice day out,” she said.
He agreed, then pulled his phone from his pocket and found her picture. As they walked to the sandwich shop, he clicked the “Delete” button.
Monday, March 1, 2010
The Dan O'Shea Flash Challenge
By Steve Weddle
Dan O'Shea put the flash smackdown on us recently and has some great talent signed up for today's challenge. To find out more and track down some excellent entries, head over to Dan's site. While you're there, you'll wanna listen to Dan chat up DSD's own Joelle Charbonneau.
So here's my entry in Dan's latest challenge. The only requirements were no more than 1,000 words and the setting had to be a church.
_________
“Will the bad guys be here, Uncle Oscar?”
I picked him up under his arms and set him on the bench outside the priest’s office. At three or four, however old the boy was, he still understood that his father was missing and his mother was in the hospital. He didn’t understand everything it meant, of course. Neither did I.
I kneeled down in front him, thin light from the ceiling, and pushed his hair out of his eyes. “Zach, I just have to talk to this priest for a few minutes.”
“Can I come with you?”
“You just lie here for a few minutes.” I took off my jacket, rolled it up and made the kid the world’s most expensive pillow. “Lie down here. I’ll be right back.”
“But I’m not tired.”
“OK. You don’t have to sleep. Just lie down and close your eyes for two minutes. Then I’ll be right back.”
He looked at me without saying anything for a second, then rubbed his eyes. “Promise?”
Yeah, kid. After I keep another promise.
The priest was sitting in a leather arm chair, reading some papers. “Can I help you?” I closed the door. He stood up. Maybe 40 years old. Head of dark hair slicked back. This late at night, he wasn’t expecting company.
I told him I wanted to talk to him about my sister-in-law.
“Yes,” he said. “I read about that in the papers. Tragic. If there is anything we can do to help the family.”
“The men who did it, you talked to them. I want to know what they said.”
He moved behind his desk, but was still standing. “I can’t discuss that, my son. Perhaps you should speak with the police. I’ll call them for you.” He picked a cordless up from his desk. I reached across the desk with one hand and into my back pocket with the other, grabbed the phone and smashed it with a small sledgehammer from the garage.
“Jesus Joseph and Mary,” he said, taking a step back into bookshelves. I stepped up onto the desk, then kicked him in the face as he tried to run past. I was on top of him as he hit the floor, grabbed him by the shoulders and dropped him into the chair he’d been sitting in.
“They told you who they were working for,” I said. “One of them. He said things got out of hand. He asked you for your help. I want to know who he was working for.”
“I can’t tell you that. I won’t. That’s just not going to happen.”
I looked around the office. Books. Files. Paintings. Crosses. Tapestries. I couldn’t tell whether he’d break. Or, more accurately, whether he’d break before I broke him.
I spun the hammer around in my hand. “We got off on the wrong foot,” I said, looking at my scuffed boot. “You know what they did to my sister-in-law? What they would have done.”
“I am aware of the incident,” he said, getting himself back together, straightening his collar and pushing his wet hair back down. “What those men did was a sin, but I am not here to judge them. I am here to counsel, to bring the wayward sheep back to the Father.”
“Sheep,” I said. “That in the lemming family?”
“Son,” he said, even though he was clearly a decade younger than I was, “what do you know of sin?”
Little Zach was just outside the door. He hadn’t come in at the earlier crash. I needed to get back, make sure he was ok.
“I know I’ve got enough piled against me that plucking the eyes out of a priest’s head probably wouldn’t make a difference.”
He leaned forward. “A sin is an action that takes you away from the Father. Something that the Devil puts up between you and the Holy Spirit.”
“Father, I’m asking you nicely.” I stood up. “You can tell me what that piece of shit said right now. Or we can spend a little more time and you can Morse Code it to me with whatever is left of you.”
The priest wasn’t going to break easy. “Their sin was no greater than the sin of your brother that brought them to the house.”
Half-brother, I nearly said. My half-brother. But that told me what I needed to know. Confirmed what I’d thought. He’d gotten involved in more than he could handle. Again. “Any chance you tell this to the police? To the prosecutor? Give them the information they need.”
“This was sinful behavior,” he said. “But all sins are equal. All sins take you away from the Father. That is what sin is, separation from the Creator. No sin is any greater than any other sin in the view of the Father.”
“Padre?”
“Yes, my son?”
I pulled the mallet around to one side and stepped towards the priest. “You might want to tell the Father to close his eyes right about now.”
After about a half-hour I closed the door behind me, stepped into the hallway and picked up Zach and my jacket. He woke up as I was putting him into my car. “Is mess over, Uncle Oscar?”
“Mess?”
“Yeah. Mommy says we have to come to church for mess.”
I buckled him in, handed him a stuffed tiger.
“Yeah, Zach. It’s going to be over soon.”
Sunday, February 28, 2010
The Long And The Short Of It
When I was asked to join the DSD gang (and for those keeping score - they haven't revoked my membership card yet, so I guess it is okay to use boob references), I was also presented with an interesting opportunity. The group asked me to contribute a short airport fiction piece to be included in the upcoming DSD collection, Terminal Damage. Yikes! Short fiction!! A friend of mind who had been bugging me to write some short fiction was delighted. I was terrified.
Yeah, I know. I write 80,000 or more word novels....300 plus pages. So, why the angst?
Well, first of all, I don't read a lot of short fiction. (This is where I duck while all of you throw decomposing vegetables.) It's not that I dislike short fiction. I don't. In fact, I like short fiction. The problem is that when I get to the end of great works of short fiction I'm disappointed that the story is over. If I like the characters, I want the ride to last a lot longer. So, I tend to read novels more than short stories. I'm just weird that way.
Second, while I might not be as well-read in short fiction as my DSD counterparts, I've read enough short fiction to know that it takes a specific skill set. In 3000-6000 words (sometimes less as in the flash fiction challenge Jay just threw down) you have to capture your audience, give them characters to identify with and create a compelling plot that ties up by the end in a satisfying way. Not an easy feat. In fact, it's damn hard. So hard that when months ago a friend suggested I give the short fiction thing a whack, I made lots of excuses not to do it. I was busy finishing book three. I had Christmas presents to buy. The dog scarfed down my computer.
However, when presented with the unexpected challenge by the DSD boys, I wasn't about to let my respectful fear of the genre stop me. That would be, well, girly of me. So, I put on my big girl pants, opened up my computer and gave it a go. And yes....had a blast doing it. I'm glad that I didn't let fear keep me cowering under the bed next to my cat...oops...did I say the dog ate the computer? Oh well. The point is, in the months and years ahead, I plan on taking this genre out for a few more rides and hopefully improve my abilities to conceive short and concise, yet interesting and entertaining stories. But I'm going to need some help. Before I take the plunge again, I need to do some reading. Feel free to point clueless, yet earnest, me in the right direction. Who are your favorite short story writers, magazines and anthologies? What are the stories you love and that I need to read to show me how this genre is supposed to be done? (Feel free to plug yourself or shamelessly flatter my DSD friends.)
And to all you writers out there - do you like writing short stories? If so, why? And what challenges do you find while writing in this abbreviated genre?
Monday, January 4, 2010
Flash, Holmes, Podcast
Jay Stringer and I just hung up -- or 'clicked off' (What do we say anymore? And why do we still say 'dial' a phone number when we just press buttons in the post-rotary days?) -- from the Skypes for our second DSD podcast.
The iTunes shoppe page for the podcast is here. You can download individual episodes or subscribe to the whole run. The second show will be up mid-week after Jay works his evil magic to make me sound like an over-caffeinated lemur.
Future episodes will include publishing news of the week, interviews, reviews, and audio stories.
In this second episode, John McFetridge reads his short story "Santa in a Red Dress."
Jay and I discuss blogs worth reading, the Sherlock Holmes movie (along with a review from Scott D. Parker), and flash fiction. I have a few thoughts about flash fiction and I'd like to know what you think.
1. Flash Fiction owes its popularity to the fact that most people can't follow a single thought for more than thirty seconds. Or eight seconds. Like in that movie where the dude is a rodeo rider and rapper. Or maybe that was EIGHT MILES. Something. Eight something. Eight Days a Week. Beatles. Rock Band. Hey, the Wii is open. Time for a quick bike ride around Wii island.
2. Flash Fiction works much better on the Innerwebs than it does in print. As Jay and I were discussing on the podcast, when his grandpa and I were growing up, we read ink-on-paper magazines. You might have heard about a shepherd boy who threw a rock and cracked open jars full of old copies of LIFE and US WEEKLY. Now flash fiction challenges such as this one and this one and this one allow readers and writers to get glimpses of talent they didn't know existed. When we relied on print mags for our fiction, the flash fiction might have gotten lost between stories, if you could find it at all. A 400-page collection of 200 flash pieces? Not likely.
3. Flash Fiction is much easier to find now. I remember some collections of flash fiction that I used when I taught literature. You could give it to the college students and start a good discussion on character and setting and so forth. Very helpful, since you could read the piece in class and not have to rely on college students actually having done the work. We only had a few choices back when I was teaching. The monks took a long time to illustrate the scrolls scrolls we used. Now, using the community I mentioned above in Idiotic Point The First, finding flash fiction is easier.
4. OK. Let's think about this one for a second. You put a story up on the Innerwebs, chances are you aren't going to get paid $10,000 for it. I remember reading something Garrison Keillor wrote about a story he'd done in The New Yorker, a story had gotten him $10,000 or so. Most online magazines now are run by folks who love what they do and love the stories they work with. They're not doing this for the money, because, well, there ain't none. And the print mags? Did another one die today? I didn't check. So we rely on the online magazines to provide us with great fiction. The writers don't get paid. The editors don't get paid. So, from a writer's point of view, if you're trying to get noticed and share some of your work, does it make sense to spend your time writing a 7,000-word story for one magazine or writing 10 stories of 700 words for various sites? Personally, it depends on what the story is. I've got longer stuff out there because that what it takes to tell the story. I've got shorter stuff out there because I wanted to have fun with something and maybe try out something new. A new character. A wacky idea. Take a chance, you know? But do you think writers are spending more time writing flash because they don't want to spend their "free time" -- time off from paid jobs, doing something for which they don't get paid -- writing for free? Dunno. Maybe some folks work like this.
5. Flash Fiction is great for writers because you can focus on a particular scene or character in something under 1,000 words. You get that done, maybe it's a chapter in a novel. Maybe it's a character study for a novella. Flash Fiction helps writers test out a new voice or fresh idea, as I mentioned a second ago (I remind you because the TV news tells me you have a short attention span. Remember? I already mentioned that.) and, wait, where was I? Oh, yeah. So you take this little, tight piece you've worked on and build it into something more, something bigger. Like you've made an appetizer and want to work it into a larger meal. Or you've painted your study and now want to carry that color scheme throughout the rest of the house.
So what do you think about Flash Fiction? What purpose does it serve? Do you think writers waste their time on these smaller pieces? Or do you think this helps readers and writers?
Monday, November 30, 2009
Code Adam
You just don't have the kind of day I was having and not kill someone.
Available as part of the Discount Noir collection here